Sentences with phrase «of woodcock»

As an addendum, I would love to know who's probing the amazing courtship sounds and behaviors of the woodcock — which we were lucky to observe (and record) at close range in our yard for several years.

Used by hunters to flush out game, it specialized in retrieving quail instead of the woodcock so prevalent in England.

My child, then in 2nd grade, had tested at the 8th grade level on the math subtests of the Woodcock - Johnson achievement test.

At first, the inner sanctum that is The House of Woodcock, where the designer and his sister, officious, sexless Cyril (Lesley Manville), run their empire, recalls all those fancy - dressed fashion movies of the 1950s when Dior and Avedon were the rage.

Our first glimpse at the work from the House of Woodcock is a heavy look constructed from burgundy velvet with a light pink, possibly taffeta, peek - a-boo skirt.

Eventually marching up to her bedroom and removing the gown from her comatose body and making it known to all in the room, «it is no business of ours how Mrs. Rose behaves, but she can no longer act like this and be dressed by the House of Woodcock».

Alma's initiation into the House of Woodcock suggests Rebecca's journey into Manderley, with Reynolds's sister, Cyril (Lesley Manville), fulfilling the forbidding and menacing functions of a Mrs. Danvers figure.

Paul Thomas Anderson's Phantom Thread devotes a significant amount of time to acclimating us to the House of Woodcock, ostensibly run by Reynolds Woodcock (Daniel Day - Lewis), a renowned dressmaker in 1950s - era London.

Set in the glamour of 1950's post-war London, renowned dressmaker Reynolds Woodcock and his sister Cyril are at the center of British fashion, dressing royalty, movie stars, heiresses, socialites, debutantes and dames with the distinct style of The House of Woodcock.

In 1950s London, Reynolds Woodcock (Daniel Day - Lewis) and his renowned House of Woodcock provide elegant, flowing fashions for the upper crust, royalty included.

In the hushed drawing rooms and hallways of the House of Woodcock, the obsessive fashion designer played by Daniel Day - Lewis goes about his business, alone even in a crowd.

By this point in the film, Anderson makes it quite clear that all is not well in the House of Woodcock.

Story: Set in the glamour of 1950's post-war London, renowned dressmaker Reynolds Woodcock (Daniel Day - Lewis) and his sister Cyril (Lesley Manville) are at the center of British fashion, dressing royalty, movie stars, heiresses, socialites, debutants and dames with the distinct style of The House of Woodcock.

Phantom Thread hides this development until it can no longer; its buildup is consumed with subtle flirtations, the thrill of driving fast in a sports car, the elegance of the clothes and the ritualization of Woodcock turning bodies into consumable things.

It is all a matter of gesture: the way she glides, powerfully but simply, among the rooms of the House of Woodcock, drawing back the curtains and readying the house for the day; the way she gazes across the table at her brother's outgoing fling, checkmating an opponent who not only doesn't realize she's lost, but also hasn't even realized she's fighting.

Following massive research on the clothing of the period, which included poring over the Victoria and Albert Museum's fashion archives, Bridges» team created 50 unique, House of Woodcock garments inspired by the likes of Balenciaga and Hardy Amies.

Hitchcock references are everywhere: in the names of Woodcock and Alma (the real - life name of Hitchcock's wife and collaborator), in the «Vertigo» - like references to the way the dead watch over the living, and the way Hitchcock's 1940 film «Rebecca» casts an elegant shadow over the entire film.

The chords of Greenwood's score are as pristine as a pattern from the House of Woodcock and as kinky and tumultuous as Alma and Reynolds» incessant push - pull relationship.

Real - life midcentury designers such as Balenciaga, Charles James and Dior inspired Anderson's script, though the character of Woodcock is fictional.

Younger, less fortunate women can only dream to aspire to one day be buried in his creations, as two fans express as much, interrupting one of Woodcock's outings for dinner.

«Many of (the costumes) were supposed to be House of Woodcock creations, so they were added to the atmosphere.»

With Anderson, the three came up with a distinctive look for the House of Woodcock: «heavy rich colors, heavy fabric, velvet, satin, heavy doses of lace.

But at the very last, the movie is a celebration of all things female, and that includes the fertile part of Woodcock's troubled subconscious.

But soon enough, she has invaded the sanctum sanctorum of Woodcock's self - absorbed genius, engaging in the kind of subterfuges and small rebellions that are so often the only recourse of someone relegated to the role of muse, and little else.

And even though I was a little disappointed that fashion design was more embellishment than underpinning with this movie, I did appreciate the acknowledgment of the physical labor that goes into couture, from the close - ups of calloused fingertips to the — too brief, in my opinion — glimpses we get of the Woodcock atelier.

The world of Reynolds Woodcock — its silky elegance, focused discipline and fetishistic attention to sartorial and ritualistic detail — is captured behind a scrim of nostalgia and romance by Anderson, who invites viewers to luxuriate in the creamy interiors of Woodcock's townhouse and atelier, the dreamy mood heightened by Jonny Greenwood's jazz - inflected musical score.

«Everything in the House of Woodcock was so particular — what chair, what silverware, what teacup.

There was an idea for a moment that we were gonna call it «House of Woodcock», but that's not the film.

Bridges and his team created 50 garments for the House of Woodcock, run by Reynolds and his domineering sister Cyril (Lesley Manville).

Like the film's central romance itself, I suppose — or like the dark secrets behind the creation of the House of Woodcock's signature designs.

He allows us to exist in this world, taking time to explore each moment and guiding the viewer through every door and hall of the Woodcock household, in rooms where love is as tender as it is dreadful.

The duo are at the center of British fashion and dress the elite in the distinct style of The House of Woodcock.

The first trailer for Phantom Thread, which debuted Monday, offers a first look at Day - Lewis as Reynolds Woodcock, an English couturier designing for society ladies («dressing royalty, movie stars, heiresses, socialites, debutantes and dames with the distinct style of The House of Woodcock,» reads the film's synopsis) in the middle of the 20th century.

«Set in the glamour of 1950's post-war London, renowned dressmaker Reynolds Woodcock (Day - Lewis) and his sister Cyril (Manville) are at the center of British fashion, dressing royalty, movie stars, heiresses, socialites, debutants and dames with the distinct style of The House of Woodcock.

Everything about Thread is exquisite, from the sets — London's Fitzroy Square provides a gorgeous Georgian backdrop — to the stunning parade of gowns that comes out of Woodcock's atelier, courtesy another Anderson regular, Mark Bridges.

Not only do we have to tell a story about the characters in a traditional arc, then we've got a sub-arc, which is the House of Woodcock fashion — people who are in that world, what they come in the house looking like, who made their clothes, what he makes for them.

Day - Lewis suggested Manville, best known for her films with Mike Leigh, including «Another Year» and «Mr. Turner,» for the role of Woodcock's watchful, considered sister Cyril, who manages his business and keeps his temperament at an even keel.

Alma is shocked: «She can no longer behave like this in a dress of the House of Woodcock!»

According to Phantom Thread's brand - new synopsis, Day - Lewis plays the character Reynolds Woodcock, a renowned dressmaker who, along with his sister Cyril (Lesley Manville) «are at the center of British fashion,» dressing 1950s, post-war London's royalty and socialites «with the distinct style of The House of Woodcock.»

The closest we get here are the surging scenes of Woodcock speeding through the countryside in his little car and a few bursts of operatic swearing.

You don't cross the House of Woodcock!

On some level Alma understands Reynolds better than he understands himself; her fierce protectiveness of the House of Woodcock's reputation occasions the story's most ardent romantic gesture.

Renowned dressmaker Reynolds Woodcock (Day - Lewis) and his sister Cyril (Manville) are at the centre of British fashion, dressing royalty, movie stars, heiresses, socialites, debutants and dames with the distinct style of The House of Woodcock.

And so it is Alma — not Woodcock's splendid «creations» — who inhabits the center of the film, gathering her strength for an assault on the fortress that is the House of Woodcock.

Anderson pays obsessively close attention to every detail, from the small items Reynolds puckishly hides in the seams of his garments to the coterie of loyal seamstresses who put the finishing touches on everything made by the House of Woodcock.

The scene of Woodcock greeting a princess on the street as she arrives by chauffeur for her fitting makes me think of the 1952 photo of Amies and his seamstresses carrying Princess Elizabeth's wardrobe down the steps of the house into a black cab set for Clarence House.

Several other MPs, particularly on the Conservative backbenches, went on to ask Corbyn a variation of Woodcock's question.

The word «cocker» refers to the dog's hunting of woodcocks and it excelled at flushing game from heavy cover.

Not exact matches

Because of how he works, I could really fall into this world of Reynolds Woodcock.

According to an RCMP filing, Mr. Wright recalled telling four people that he would personally provide funds to Mr. Duffy: David van Hemmen (Mr. Wright's executive assistant), Benjamin Perrin (legal counsel to the Prime Minister at the time), Chris Woodcock (director of issues management in the PMO at the time, now chief of staff to Natural Resources Minister Joe Oliver) and Conservative Senator Irving Gerstein.